Brynnium

Active Imagination Technique

Setting
- Quiet
- Alone
- Comfortable

[Invitation]
- An act of recognition of the subconscious as real, sentient, yet distinct from your conscious
mind.
- More helpful when starting out. As you continue, a genuine relationship forms with the other
half of your totality. When two friends meet, they may choose to dispense with formalities.

Beginning
- Imagine yourself during a daydream: the feeling of withdrawal into the mind and sense of
thoughts coming forth from within rather than without.
- Quiet your mind, your inner voice. Do not think to yourself; do not speak within your mind.
- Images will come and go. Do not necessarily seize upon the first one (though sometimes it is the
first image that will take hold).
“Take hold” – an image will appear more strongly, persist, or bring with it more emotion
or profundity than others. This is the scene.
- Let events unfold. You are an observer, and once the subconscious engages you, you then
become a participant.

During
- What occurs is meant to be recorded as it happens. You will lose much of the experience if you
wait to write later. This may be done at a “typewriter” as Robert Johnson says, but for us, it may
be done at a computer, with a phone, or handwritten.

Handwritten transcription seems best because one is free to conduct active imagination
in a place of one’s choosing (not necessarily wherever one’s computer is), and paper is
inherently distraction-free, unlike phones, which are designed to consume attention.
- The subconscious is patient; I have not found it to leave as I write. In fact, I have had sessions
interrupted and resumed hours later without problem; Robert Johnson notes this (Inner Work,
153).
- Recording what transpires is a demonstration of respect for the subconscious. It also provides
an accurate record that you can return to and reflect upon.

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- Practically speaking, after seeing the image that takes hold, I write a description of the scene. I
describe what I see, where I look, what is taking place. I close my eyes once more, refocusing,
and the scene is still there. During conversation, sometimes entire paragraphs are spoken to me.
I write as I hear, the experience continuing even as my eyes are open and I am writing.

You may intuitively understand this as you listen to someone speak as you play on your
phone; your mind is focused both on what you are writing on your phone and what is
happening around you. The difference here is that your mind is turned within, focusing
just enough on the external setting to write. You are straddling the line between the
conscious and unconscious; with one hand you receive from the unconscious, and with
the other you set it down in the conscious realm.
- You may need time to reflect on what is said, to prepare your response. For me, this pleases my
subconscious. Do not rush.

You may think that the subconscious, compared to your conscious mind, is rather
insignificant. I find it to be just as profound as the conscious mind. Do not condescend
to it; more often than not, I feel that it condescends to me.
- Do not withhold deep questions; do not hold back feelings. Express everything to the
subconscious. The goal is to understand the subconscious and how it understands your
conscious mind; if there is ever a time to take off personas and pretentions, it is during active
imagination. It sees you as you are; it is unaffected by the masks we tend to wear to manipulate
others’ perceptions, and in fact, in my experience, this is problematic to the subconscious. If you
seek peace, take off your masks and behold yourself as you are, and let the subconscious behold
you.

The subconscious can be surprisingly specific and to-the-point.

Ending
- The ending is an intuitive occurrence (at least for me).
There is a sense that what is said has run its course, that all the points have been laid
out. It is like coming to the end of a story, and you know it is the end because everything
was introduced, carried on, and reached a point of conclusion/resolution/application.

You can also simply ask whoever is speaking if there is anything else to add. If you have
any final questions, ask them. When all is said and done, I always try to politely bid my
goodbye. If the subconscious responds similarly, you know the end has arrived.
- This has never been a difficult part of the experience, for me. In all likelihood, it will not prove
troubling to you, either, once you have gotten your feet wet, so to speak.

After
- There is a sense of progress, a sense that something important that has hitherto been mute has
been given expression. I feel as though I have gotten something off my chest, as the saying goes,

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or rather, that my subconscious has gotten something off its chest. The goal is harmonization
with the unconscious mind.
- The feeling is like coming out of a daydream1; you were not asleep, but your mind was far from
your surroundings.
- Return later to your transcript; re-read and digest it.

Other Notes
- Robert Johnson and Jung mention alternative methods of conducting active imagination, though
what I have described is Jung’s method. Jung also drew mandalas, and encouraged his patients
to paint what they beheld within, even those with no artistic talent whatsoever, for art was not
the point, but expression of the inner mind (CW, 16 §§101-106). Some may only hear, but not
see. Some find they see or hear nothing, but must dance, sculpt, or paint the experience. Jung
acknowledges these very individual differences in The Transcendent Function (CW 8, §166ff).
- What is the point? Why is this method, in particular, beneficial? Jung answers in Mysterium
Coniunctionis (CW 14, §706):

This process of coming to terms with the Other in us is well worth while, because in this
way we get to know aspects of our nature which we would not allow anybody else to
show us and which we ourselves would never have admitted. It is very important to fix
this whole procedure in writing at the time of its occurrence, for you then have ocular
evidence that will effectively counteract the ever-ready tendency to self-deception. A
running commentary is absolutely necessary in dealing with the shadow, because
otherwise its actuality cannot be fixed. Only in this painful way is it possible to gain a
positive insight into the complex nature of one's own personality.

The conscious mind has a way of “forgetting” what it does not like, doesn’t it? Active
imagination is thus rightly prefixed as active. It is deliberate. It requires exertion. It requires the
determination to behold who you really, truly are. If you have this passion, and if you believe
that there is much more to you than the surface dressings with which we tend to content
ourselves, then let that energize your pursuit into the unconscious mind.

1
Daydreams are connected by Jung with the subconscious (CW 5, §39), but I make the connection loosely.
Daydreaming is distinct, to Jung, in that the mind is not actively involved in the transpiration. In active imagination,
you place yourself in the scene, experiencing and interacting, consciously, and you do not control what exactly
takes place. Daydreaming is considered “passive fantasy,” whereas active imagination is considered “active
fantasy” (CW 6, Bollingen Series XX pub. 1971, §§712-14; 722, see footnote 45).